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carts, on foot and on the backs of mules and in the act of carrying objects, bundles or baskets or crossing flooded roads or fords. The volumetric modeling and the manner in which they are set against brightly lit areas of the countryside make the figures stand out from the picture. The artist used the figures to play with the visual effects produced by the figures in the water. He occasionally also painted farmyard scenes in the vein of
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In the 1660s he developed a very personal style of landscape painting, with an emphasis on the
Flemish countryside and country life. He introduced into the foreground of his landscapes figures of robust country girls, dressed in bright red, blue and yellow. These countrywomen are shown traveling in
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Siberechts arrived in
England around 1672 and spent the first three years in England painting decorations in the Duke’s newly built Cliveden House at Taplow, Buckinghamshire, England. From the second part of the 1670s and in the 1680s he travelled widely in England completing numerous commissions for
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painter who after a successful career in
Antwerp, emigrated in the latter part of his life to England. In his early works, he developed a personal style of landscape painting, with an emphasis on the Flemish countryside and country life. His later landscapes painted in England retained their Flemish
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These country house portraits had an important influence on
English landscape painting and Siberechts can be regarded as the 'father of British landscape'. These landscapes also have an important historic and topographical interest. Siberechts stood at the beginning of a long tradition of Flemish
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Siberechts also painted hunting scenes for his
English patrons. These are the earliest country house portraits in England. He used a fairly standardised composition for these hunting scenes: the hunting scene with the huntsmen and horsemen in the foreground and a naturalistic view of the stately
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His later landscapes painted in
England in the 1670s and 1680s retained their Flemish character by representing a universal theme. This stands in contrast to Dutch landscape paintings of the period, which typically concentrated on a single aspect of a landscape. Siberechts' landscapes depicted
140:. Siberechts must have become acquainted with their work in Antwerp as these artists were mainly active in Rome and Siberechts possibly did not visit Italy himself although such a visit in the late 1640s, early 1650s cannot be excluded.
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powerful trees and soft light on distant hills while the figures became less important than the landscape itself. The foreground was kept relatively dark in order to draw attention to the broad, brightly lit vista in the background.
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character by representing a universal theme. Siberechts also painted hunting scenes for his
English patrons. The topographical views he created in England stand at the beginning of the English landscape tradition.
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by 1648. It is possible but not certain that in the late 1640s, early 1650s he visited Italy. He married Maria-Anna Croes in
Antwerp in 1652. He developed a personal style of painting landscapes, which impressed
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aristocratic clients. He lived in London where one of his daughters was a lace-maker for the Queen. His younger daughter, Frances, married the
Flemish émigré sculptor
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home as the backdrop, placed in a misty and atmospheric landscape. He adopted a bird's-eye view that allowed a maximum amount of detail to be depicted.
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About 100 of his works have been preserved. His early works were indebted to Dutch
Italianate landscape painters such as
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Hans Devisscher. "Siberechts, Jan." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 20 February 2022
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Masterpieces of Western Art: A History of Art in 900 Individual Studies from the Gothic to the Present Day, Part 1,
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painters who made topographical paintings of the estates of the British nobility. These artists include
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with the same name. He trained in Antwerp with his father and became a master in the local
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Urban Achievement in Early Modern Europe: Golden Ages in Antwerp, Amsterdam and London
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when he visited Antwerp in 1670. The Duke invited the artist to England.
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Luxury and Power: The Material World of the Stuart Diplomat, 1660-1714
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View of a House and its Estate in Belsize, Middlesex
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Henley-on-Thames from the Wargrave Road, Oxfordshire
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